Final paper. Urban design. Visual & Performing Arts
According to the following comment about your last time outline writing, and then write a 3 page final paper =. Sources at least 8
Central thesis examines race in an innovative way and is clear and understandable (10/15 points): There are two main issues with your thesis. First, your research does not account for race in any substantive way. As a result, you are only addressing one-half of the themes required for a 'Race and Place' course. And second, most of what you write about has already been discussed by previous authors. As a result, you are merely producing a book report of past research instead of developing a unique reading of the topic.
In order to address race in your work, you need to explore the critical importance of Hadid's Middle Eastern background on her work. You begin to do this by referencing her interests in translating the formal principles of Arabic calligraphy to architecture, but do not develop it fully in your research paper outline.
Each section of the outline builds upon the thesis statement (20/30 points): As I stated above, your thesis statement does not address race. As a result, this theme is not currently present in your outline. In order to reverse this oversight, you should produce more of a summary of her Middle Eastern background and of the ways that Hadid has explicitly addressed this part of her ancestry in interviews, journals and monographs.
Bibliography sources all relevant to subject (as demonstrated by annotations) (20/30 points): You need to add some bibliographical sources on the Middle East and on Arabic calligraphy in order to make a critical reading of Hadid's design for the BMW Central Building. There is at least one journal article that addresses the relevance of Hadid's Middle Eastern and Arabic background to her design work: https://www(dot)newyorker(dot)com/magazine/2009/12/21/the-abstractionist.
Urban design integrates elements from the past, where the architectural forms were included and adapted to the projects of Zaha Hadid’s work on the BMW Central Building in Leipzig, Germany, which is modernist, but focusing more on abstract openness than her car production facilities. However, the design, but still retains elements of her work where the designs integrate curvy lines, and fluidity common in Arabic calligraphy. The Baghdad-born and London-based architect designed buildings in diverse countries and the designs have diverse form bas don function. While fluidity and deconstructivism appeared in her later works, her Middle East background also influenced the design process. In her earlier works, Hadid explored the integration of abstract art and the suprematist art like the World (89 Degrees) (1983) and A New Barcelona (1989). Hadid’s later works are more curvilinear, partly angular and include distorted rectangles based on a modernist approach where there is complexity and variability in forms. Hadid’s work the: BMW Central Building in Germany was the accepted design Zaha Hadid submitted, and reflects her focus on space and modernism in her works, partly influenced by fluidity linked to Arabic calligraphy, and the deconstructivism approach.
Hadid focused on architectural forms of great dynamism and emphasizing form over other features and factors like function. Art inspires Hadid’s work and even as functionality was a priority in the BMW building there was focused on art, which influenced the design of the interior. While focus on the influence of Arabic calligraphy and oriental art styles mostly focus on the decorative or ornamental elements in western analysis, it is not always obvious in Hadid’s work integrates calligraphy in a way where the spatial flows of the building represent the surrounding environment. The architect’s most prominent patterns of form are the suprematist and fluid patterns, and illustrates that Hadid included elements of Arabic calligraphy in her designs. The construction of typical forms highlights the link to fluidity to urbanism and this includes BMW Central Building and fluidity is more common in Arabic calligraphy the suprematism approach integrates geometrical abstraction in art, design and architecture, which makes Hadid’s designs dynamic.
Both modernists and postmodernists style highlights complexity and the diversity of styles, with architects exercising freedom to experiment with different architectural forms. Postmodernism developed in the 80s, but had been developing since the 70s, where previous works inspire the artists and architects, and even when using recycled techniques there is emphasis on the current aesthetics and modern technology. Integrating abstract art, was one way that Hadid contributed towards the growth of the modernist movement and she emphasized form, flow and movement. The architect had a background in mathematics prior to learning architecture, where geometry and mathematics influenced the design process, while abstract elements included Arabic calligraphy as represented by the fragmentation of space and deconstruction.
Deconstructivism is a contemporary architectural style of the post modern movement attributed to various American and European architects in the 1980s and is characterized by characterized by fragmentation, and the non-linear design process. Zaha Hadid was one of the architects who led to the popularity of the movement. There are references to Russian constructivism and the philosophy of deconstruction, applicable in architecture, literature, linguistics and philosophy, which highlights that there are different ways to interpret art
Hadid applied deconstructivism in architecture by emphasizing less on symmetry or continuity and focusing more on fragmentation. This possible as the architect exercised personal freedom where it was possible to disassemble architecture and even disturbs the form to challenge the prevailing ideas about architecture.
In designing the BMW Central Building, Zaha Hadid architects sought to integrate elements of urban organizational patterns in the design process and address the issue of commodity production. “BMW’s aim was to stage a more transparent production process along flexible office areas within a communication network”. While there is no single Hadid style, her works highlight the need for movement and speed in the interior design, while her lines often have elements of arabesque shapes. In the building there was greater emphasis on functionality than many of Hadid’s designs an works as there was a need to ensure the production line and production units were easily accessible from anywhere in the facility. This was consistent with the need to meet the industrial production and patterns of the workforce, while the cars were tracked in the various stages of the production process